Camera Sample Footage

The shots are intended for anyone who wants to test a workflow with ALEXA or AMIRA camera with ProRes and/or ARRIRAW files. For example, to test LUTs for converting from Log C to Rec 709, or to check how each of the different formats the ALEXA camera has to offer is best handled in different editing systems. Please note that this sample footage was created for workflow evaluation purposes.

ALEXA LF Footage

For ALEXA LF we shot samples in our Munich Showroom; for reasons of comparability we repeated the same scene over and over with different recoding modes. We’ve used all three sensor modes and shot all possible recording resolutions in their respective formats (ProRes 4444 or ARRIRAW). The clips have been shot with the following settings (unless otherwise stated): 24fps, 800ASA, 3200K; shooting gamma for all clips is Log C. Most clips run for about ten seconds each with 2-channel audio.

You can get hold of the full set of metadata by extracting it from the corresponding file’s header using ARRI Meta Extract.

ALEXA SXT Footage

All clips were captured with an ARRI ALEXA SXT Plus camera. We’ve shot all possible recording resolutions in their respective formats (ProRes 4444XQ or ARRIRAW). The clips have been shot with the following settings if not otherwise noted: 24fps, 800ASA, 5600K; shooting gamma for all clips is Log C.

The clips run for about ten seconds each with 2-channel audio.You can get hold of the full set of metadata by extracting it from the corresponding file’s header using ARRI Meta Extract.

ALEXA 65 Footage

All three ALEXA 65 clips were shot with project rate 23.98 in ARRIRAW Open Gate format. One clip is in sync speed the other two in 60 fps high speed. The used lenses are Prime 28, 50 and 80mm.For each clip is a 2K ProRes QT proxy available. The original metadata of the ARRIRAW 65 footage is stored in the QT proxy as well.

AMIRA Sample Footage

ARRI provides ProRes sample footage shot on an AMIRA camera with a release version of SUP 1.0/3.0 and MPEG-2 shotwith a release version of SUP 3.0.

Please note that this sample footage was created for workflow evaluation purposes.

ProRes: HD and 2K clipsWe’ve shot two different ProRes flavors: ProRes 422 – “Video Workflow” and ProRes 4444 – “Postproduction Workflow” in two resolutions: HD and 2K.Each resolution is available in every project speed (i.e. timecode base set to 23.967p, 24p, 25p, 29.97p, 30p, 48p, 50p, 59.94p, 60p, 50i, 59.94i and 60i).Project speed 29.97p is available as non-drop frame as well as drop frame timecode clip-set.So each project speed folder contains a similar set of six clips.

The clips have been recorded either in the Log C Wide Gamut color space or by using the built-in Rec 709 Look file for conversion to HD video color space. You can get hold of the full set of metadata by extracting it from the corresponding file’s header. used a Fujinon Cabrio 19-90 Zoom for all “sets of six clips” and an ARRI/Fujinon Alura 30-80 Lightweight Zoom for the high-speed clips.

ProRes: 3.2K and 4K UHD clipsFor these higher resolution formats we chose ProRes 4444 as our go-to codec recording straight to REC 709 color space. For reasons of simplicity we only recorded 25fps sensor speed/25p project speed. We used a Zeiss Compact Zoom 70-200mm at a t=4.0 in combination with a FSND 1.2 and a rotating polarizer.

MPEGAll clips are MPEG-2 Long GOP 50 Mbps, wrapped in MXF container. The MPEG-2 clips were captured in HD resolution and in all available project speeds 23.98p, 25p, 29.97p, 50i and 59.94i. Only 59.94i clips recorded with drop frame time code. Each camera project rate is put in a separate folder to preserve the original camera recording folder structure. The required metadata information should fulfill the requirements of standard XDCAM workflows.

Please note: Some FTP clients use “FTP over TLS (Transport Layer Security)” by default. Our server does not support TLS, so make sure you connect to the server using the plain FTP protocol.For additional information download the Sample Footage Technical Information.

If you have any further questions regarding this test footage or the ALEXA camera, please feel free to contact us at digitalworkflow@arri.de.